The new Japanese woman: modernity, media, and women in interwar Japan 9780822330080, 9780822330448, 9780822384762

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The New Japanese Woman

ASIA~PACIFIC: CULTURE, POLITICS, AND SOCIETY

Editors: Rey Chow, H. D. Harootunian, and Masao Miyoshi

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demic circles. The inability of most intellectuals to perceive her as an imaginary by-product of modernization left the modern girl devoid of a birthright that would lend reality to the predominant representations of her. In meaning and status, she existed more as an object than as a self-defining subject. Unlike the professional working woman and the housewife, the modern girl made no verbal pronouncements about her position in urban culture. Hers was a voiceless existence surrounded by ambivalence— the ambivalence of class and occupation, ambivalence presented and represented through the media. In the absence of a clear social referent, the uproar over the modern girl exacerbated intellectuals’ inability to see her as the phantasmagoric figure that she was within the context of the changes being wrought in the social and cultural order. The task of providing the modern girl, or moga, as her name became abbreviated, with a social and historical raison d’étre fell to the intellectuals, whatever their particular ideological stance. The political views of women intellectuals Hiratsuka Raicho, Yosano Akiko, and Yamakawa Kikue varied, but all three women envisioned women’s subjectivity within the context of awakening, be it through learning, awareness to women’s causes, or a belief in activism. Male intellectuals like Hirabayashi Hatsunosuke and Chiba Kameo, on the other hand, recognized that without sensitivity to the dynamics of the time, the modern girl would be seen outside history and would be ignored or distorted. Multiple discourses, most of which conceived of the modern girl as something fragmentary, played a formative role in articulating her identity. The derivative views of the modern girl daunted the hopes of the “new woman” and those intellectuals who had imagined her as someone who would devote her energies to public activities and would duplicate those values historically associated with men. When some intellectuals said that in fact, she was not “modern” at all, they were alluding to her failure to make choices in keeping with their set of norms. The negative critiques that formed the bulk of the commentary about the modern girl were mainly responsible for fanning the flames of the moga sensation. We begin, therefore, with the publicly defined images of the modern girl as a site for exploring the responses of Japanese intellectuals to the social and cultural gender transformations that characterized the 1920s. The “modern” that identified the modern girl clearly was

48 The New Japanese Woman ,

inconsistent with prevalent female norms. The modern girl may best be understood as a phantasm rather than as a social reality. Nevertheless, that phantasm was a marked feature of an urban society in flux, a powerful symbol of Taisho modernity.

Positioning the Modern Girl: Modern Girls in Print Intellectuals tended to idealize the modern girlin ways they considered appropriate to the changing age.° Many regarded her as an ephemeral craze especially prevalent among young Tokyo women who strutted the stage of the Ginza and Marunouchi. One of the first intellectuals to embark on a statistical study of changing fashions and lifestyles after the earthquake was Kon Wajir6, a professor of architecture at Waseda University. Kon’s meticulously detailed survey compared the way of life in Tokyo with that in a number of farming villages. In the summer of 1925, Kon surveyed more than one thousand men and women. He

found that 99 percent of the women he observed on the Ginza wore traditional Japanese dress, while 33 percent of the men were wearing kimono.* Where was the modern girl? By 1925 the fashionable aspects

of consumerism were said to be everywhere visible, but the imaginary multiplication of the modern girl is revealed by the discrepancy. What made the modern girl such a powerful symbol was not that she represented a small percentage of “real women,” but that she represented the possibilities for what all women could become. She also symbolized consumption and mass culture, phenomena identified with women after the Great War. The Ginza was home to many of the defining elements of consumerism: the department store, the café, the dance hall, and the modern girl Taking into account the place and the number of people in Kon’s survey, one would have expected a sizable number of the women there to be in Western dress. Yet the few he found were primarily a few modern types and the wives and daughters of peers or government officials. (Schoolgirls dressed in Western-style uniforms were considered separately.) It is perhaps no wonder, then, that the modern girl outwardly resembling the American flapper, only one in a hundred, stood out from the crowd and became an immediate object of public attention. By boldly focusing people’s attention on her daring Western attire, one of the few

The Modern Girl 49 7 :

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(bunmei kaika). |

gested support for the new reforms for civilization and enlightenment In 1871, an official announcement accorded the people the freedom to cut their hair, and in 1873, news spread that the emperor himself was wearing a short cut. According to a survey taken in Shiga prefecture in 1873, almost all the men had short cuts; those who did not were fined.’ But this so-called sign of civilization, which had been encouraged in the name of “modernity,” was limited to men. Women abided by a different set of social rules. Officially, women were encouraged to adopt a “Western” hairstyle, but the recommended styles (ydhatsu and sokuhatsu) were really just variations of the conventional style.° During the early 1870s, when the social impact of the “civilization and enlightenment” reforms was greatest, it appeared that women too would stop dressing their hair in the old style. But in 1872, the year after men received official sanction to cut their hair as they wished, a state ordinance prohibiting women from having a danpatsu was enacted because

52 The New Japanese Woman

in cutting her hair, “the essence of a woman’s beauty would be destroyed.”? In spite of its initial requirements for “modernity,” the state affirmed the masculine and negated the feminine. The social pressures to preserve the ways of the past were far greater on women than men, at least when it came to setting new norms that would effect changes in women’s lifestyles. Until the image of the modern girl surfaced, women’s hairstyles had several variations. But the “new” style (sokuhatsu), much like the conventional style of oiling the hair and pulling it back in some form of a bun, continued as the proper hairdo worn by girls as young as thirteen years of age.’° Thus, the modern girl’s short cut marked a defi-

nite departure. Although the word danpatsu remained in use, it connoted something quite different in the early twentieth century than it had for the Meiji woman. The Meiji danpatsu referred to hair that had been pulled into a bun; the danpatsu that identified the modern girl fell into the category of the most up-to-date American hairstyle, the bob. The moga’s short cut mirrored a style that was current throughout the world. By the 1920s, women who had been largely excluded from such symbols of change were acknowledging a desire to question the old aesthetic. The alteration of a woman’s physical appearance sug-

gested behavioral disruptions that could not help but result in social tensions." Past and present observers of the modern girl have often failed to recognize that her impact was based on representations that went beyond the issues of clothing and hairstyles. Best understood as an ideal type, the modern girl portrayed the social transformation in progress. The curious sense of freedom her image exuded did not result from a calculated effort to improve her lot or to join in social movements. It was more the result of a fascination with a fashionable new lifestyle triggered by World War I and the Great Earthquake. The modern girl represented a different type from the earlier new woman, whose name suggested the feminism that propelled members of the Bluestocking

society. !

The style associated with the modern girl entered Japan from Europe

via the United States following the war, although only a few young women at the time had enough courage to cut off their hair and defy the ensuing criticism and outright ostracism. An aspiring young novelist named Mochizuki Yuriko, who returned to Japan from Europe shortly

The Modern Girl 53

after the war, stood out as one of that brave minority. In later years, Mochizuki reminisced about the bob she had decided to have. The long kimono was beautiful, but it was no longer in keeping with the age. Long Japanese hair was also beautiful, but that, too, had become anachronistic. Those were the feelings I had when I decided to

cut my hair.... You cannot imagine the shock it gave to the people around me. My mother took one look at me and cried out in indignation, “ You must be crazy! If you go out, everyone will call you one of those new women” —

the term modern girl was not in use yet. ... : J remember another instance after J returned to my family home in the country. I ran into two girls, fifteen and sixteen, living in the neighborhood who had had a short cut [danpatsu]. Ours was an extremely provincial, tradition-bound village, and it caused a great sensation. The

girls were punished severely and their mothers sobbed and wailed, carrying on as if they were lunatics. My own mother confronted me and said, “It is your fault that this dreadful thing has happened. You have lost face with everyone in the neighborhood. I wish that you would just go right back to Tokyo.” In no time I packed my bag and returned to Tokyo feeling as if I was escaping. . . . It has been almost ten years since I got a short cut. During that time there have been a string of tragicomedies. On another occasion I was on my way back to Kansai [western Japan]

and an elderly woman on the train kept staring at me. “You are so young and you had to cut off your hair. When did you lose your husband?” I managed to give a strained smile. When I think back [to 1918], the painful experiences far outnumbered the comic situations. Even today, it is appalling how many idiots jeer and hiss at me and are ignorant enough to label me a modern girl.”

Mochizuki prided herself on recognizing the liberating aspects of the short cut. She boldly asserted that women who wished to compete in society on a level comparable with men would have to rid themselves of any encumbering entrapments. Long hair and kimono, although elegant, physically impeded a woman’s social development. Being a woman and a self-proclaimed intellectual, Mochizuki resented being singled out by her gender as a modern girl, whom she equated with the superficial aspects of the modern. The lead article in the January 1927 issue of the women’s magazine

54 The New Japanese Woman

Fujin koron, “Random Views on the Modern Girl” (Modan garu zakkan), presented the general consensus on the modern girl. One woman intellectual remarked: Whenever I hear the popular word modern girl, | recall the time people were interested in the word new woman. Although I was quite disappointed with the new woman’s behavior, at least I thought of them as kindred spirits because of their fresh way of thinking. But I wonder if there is anything to be discovered in the modern girl’s thinking? I suppose that in these uncertain times, their way of expressing themselves is inevitable, but is it possible for anyone not to notice how vapid their lifestyles are? !s

Another woman, obviously of the same generation, expressed a similar view: I think it is interesting to compare today’s modern girl with the socalled new woman who appeared more than ten years ago. The new woman was an enlightened woman. Her way of thinking was intellectually sound, and she was able to understand innermost problems. She was in her late twenties or early thirties. The modern girl, however, has no intellectual basis for her way of thinking, tends to be concerned only with outward appearances, and is in her late teens or early twenties. She is nothing more than a fad."

Yet, another woman intellectual, whose viewpoint resembled Mochizuki’s, wrote: I do not think that modern girls are particularly modern in their way of thinking; they just look modern. You see them wearing flashy clothes — a shiny purple and green dress with a big sash tied under the bosom. If that is the criterion for being modern, it is pitiful. It is an insult to the real modern girl even to use a word like modern girl, which has such derogatory connotations. For me, the word connotes someone who is

a total fake, heavily made-up, and who is satisfied with just having

something that is new.’ Writer Suzuki BunshirO warned that if the criteria for modern girls were based on bobbed hair and Western-style skirts reaching to the knee, young women working at fruit shops and greengrocers in the United States also deserved the appellation.'® Suzuki’s image of

the modern girl was not a young woman who belonged to a higher

The Modern Girl 55

socioeconomic class than salesclerks in the United States, but rather someone who would rise to the challenge of meeting new social demands. Even so, the older generation of progressive women intellectuals generally joined their male counterparts in expressing disappointment and anger when the modern girl quashed their expectations for a deeper engagement with modernity. Poet Yosano Akiko, a fervent advocate of equal rights, was struck by the old-fashioned mentality as-

sociated with the modern girl: ,

Even the prostitutes frequenting the bars and cafés in Paris would never be seen in the type of Western clothing that young women [in Japan] are wearing these days. These girls in their Western dress and short haircuts just copy whatever comes from abroad. The reason that girls who could be mistaken for prostitutes in their crazy get-ups have emerged is not due to the influence of women’s liberation. It is because there are certain “new types” among the men who like what is decadent and want young women to look like that.’”

Almost all the intellectual discourses converge on one point: the modern girl embraced modernity in its most superficial form through such genres as Western clothing, hairstyles, magazines, and movies. The most negative criticism of her came from liberal intellectuals who were struggling with the internalization of Western culture and civilization themselves. Marxist and socialist intellectuals shared the belief that consumerism was a bourgeois ploy to distract modern women from the more pressing issues of politics and class. But the political marginalization of women was really part of a larger marginalization in which women were excluded from the public world.

Indeed, the modern girl’s flamboyant style stirred up anxieties among intellectuals and the public at large about the direction in which society was moving. This complemented the hostility to the new currents of thought that were emerging and exacerbated the belief that the commodification of everyday life did not address pressing issues related to the inner spirit, productivity, and the value of restraint.

Contradictory Expectations of the Modern Girl Hiratsuka Raich6 envisioned an ideal modern girl who was a continuation of the new woman of the years 1910-19: “The true modern girl is 56 The New Japanese Woman

the daughter of the new woman. She was born from her womb.” When

asked who best fit that ideal, without hesitation Hiratsuka answered Takamure Itsue, the noted anarchist and pioneer in women’s history. The media’s modern girl hardly fit that description. Hiratsuka castigated the trendy modern girl as an aberration who deserved neither the appellation “modern” nor the public attention she received. Hiratsuka preferred rather to ignore her existence and asserted: “It is beyond me

why anyone in the world would call this type of girl a modern girl.” Nevertheless, Hiratsuka’s choice of the word true when speaking about the modern girl was not entirely unfounded. The term modern girl sur-

faced in Japan for the first time in its phonetic spelling in an article written by Kitazawa Chogo. Entitled “The Emergence of the Modern Girl—A Letter to My Sister in Japan” (Modan garu no hyogen— Nihon no imoto ni okuru tegami), it appeared in the April 1923 issue of Josei kaizo (Women’s Reform)."”

The following year, “Modern Girl” (Modan garu), which dealt primarily with the modern girl in England, was published in the August 1924 issue of Josei (Women), a popular women’s magazine.” The author,

essayist Kitazawa Shuichi, who also used the pen name Chogo, had spent a number of years in London. Although Kitazawa attributed universal qualities to the English modern girl that he believed eventually would become manifest in a Japanese counterpart, when he first used the term, it was to explain the social trend that had emerged among English women. He did not intend it as an appellation for Japanese women. In Japan at that time, the modern girl was an almost nonexistent type?! Kitazawa was certain that situation was about to change. “If I were pressed to answer whether or not the modern girl exists in any great number in Japan, I would have to hesitate before replying. But if I answered with a flat ‘no,’ | would also feel hesitant. Suffice it to say that quite a few girls in Japan possess the potential for being modern. There is little doubt in my mind that if the modern girl has not already appeared in Japanese society, she soon will.”

Kitazawa alluded to two special features intrinsic to the modern girl in England. First, she exuded a new sense of self, evident in the desire for self-expression and individual fulfillment. Because she believed herself equal to men, ingrained customs and conventional concepts of morality posed no constraints for her. Second, her openness was not the result of a conscious effort to achieve intellectual awakening. It occurred spontaneously within her. By following her own feelThe Modern Girl 57

ings, she unconsciously surmounted existing behavioral patterns. Kita-

zawa suggested that being modern generated a degree of economic independence and a liberated ego—both attributes that men would find appealing. If I were to take a survey of the younger generation’s likes and dislikes in girls, we would find that young men prefer girls who walk side by side and are in step with them rather than girls who trail behind like sheep. Young men are enamored of girls who speak their minds instead of always being humble and never voicing their opinions. They seek out girls without a lot of shortcomings whom they can enjoy life with. | My analysis does not even deal with things like beauty, intelligence, or taste. But it is clear that members of the young generation respect those girls who do not use their feminine wiles and pretend to be like docile cats with bells tied around their necks. They admire girls who perceive things as human beings and are on the same wavelength as men. They dislike girls who try to get the upper hand when they are in a fix by insisting that they are the weaker sex. If my observations are correct and today’s young generation really want girls of this type, they have no choice but to look to the modern girl.”

Kitazawa’s article on the English modern girl opened Pandora’s box. Within months, articles like “The Modern Girl: Sudden Transformation by Mutation” (Modan garu totsuzen hen’i, Josei, December 1925), “The Originator of the Modern Girl” (Modan garu no honke honmoto, Josei, February 1927), and “What Is Modern?” (Nani ga modan ka, Josei, June 1927) were filling the pages of monthly magazines. The widely read popular journal Bungei shunji (Literary Chronicle) gave top billing to the modern girl in its January 1928 issue on modern life. Even editors of journals like Chiio koron and Kaizo (Reform), both supported by intellectuals, commissioned articles on this spreading social phenomenon. In 1930, Bungei shunji, swept along by the tide, published a new magazine entitled Modan Nippon (Modern Japan). Its purpose was to keep abreast of the latest modern trends in Japan. When woman

intellectual Kodera Kikuko was asked to render a definition of the modern girl for the second issue (November 1930), she thought for a moment before venturing an answer. “I have never met a real modern girl or modern boy, so I don’t know who they are. But in order to be called modern, it is not enough to just look modern. They have

58 The New Japanese Woman

to have some substance to them.” Kodera’s reply is reminiscent of the early discussions of the moga, which stressed qualities such as individuality. Like other intellectuals, Kodera was struggling to define what it meant to be modern. Most articles, however, were not concerned with whether or not the modern girl reflected a larger social change that accounted for her emergence. Instead, a preoccupation with what she should be like led to a spate of emotional reactions that dealt with the interiority of the modern girl, revealing the contradictory aspects of the discussions. Intellectuals conflated the modern girl with someone of Takamure Itsue’s ilk while other observers zeroed in on.a group of empty-headed, sexually permissive young women prone to pleasure. The question of the conflicting loyalties that faced the professional working woman and housewife and centered on the necessity for them to define their own needs was left to others to assess. Soon, books devoted to the modern girl appeared. Former journalist turned social critic Nii Itaru, an avid follower of women’s trends, wrote one of the earliest, A Dissection of the Modern Mind (Kindaishin no kaibo, 1925)24 Unlike Kitazawa, Nii had never traveled abroad. His analysis derived solely from his knowledge of Japanese society. Nii distinguished the modern girl from the “social girl” (shakai josei). The mod-

ern girl challenged prevailing ideals, but no doubt unknowingly. Nii labeled her a present-day Don Quixote. Without the support of an organized movement, she aimed to better herself, not society. Had she had political aspirations, Nii said, she would have been an anarchist. Her essence lay in an awakened sense of self. The “social girl,” in contrast, worked within the system. Dominated by her intellect, she would speak out for women’s rights and demand suffrage. She would act as a member of a group. Nii probably had in mind Bluestockings like Hiratsuka and Ito Noe when he wrote about the “social girl.””

As the term modern girl gained popular currency, the monthly women’s journal Fujin no kuni (Woman’s Land) sponsored a roundtable discussion in May 1926 to debate her pros and cons. The panelists were Nii; Chiba Kameo, the author of several books and articles on women who also preferred the sobriquet social critic; and Kume Masao, a writer who favored the so-called mass literature of the 1920s. Women writers Miyake Yasuko, a regular contributor to the general interest journal Taiyo as well as mass women’s magazines; Yamada Waka, a reformed prostitute turned Bluestocking whose advice col-

The Modern Girl 59

umn was a fixture of the Tokyo Asahi shinbun throughout the late 1920s and early 1930s; and novelist Sasaki Fusa, often listed as a modern girl

herself, also joined the discussion. , The discussants entertained mixed opinions. Most spoke out harshly, calling the moga sensation symptomatic of a general social malaise that

had been plaguing the country since the signing of the Portsmouth Treaty after the Russo-Japanese War. Those more tolerant of the moga were in the minority. Nii, for example, disagreed with Kume’s assessment of the modern girl as a “flower that blooms in the midst of rubble, where there is little chance for survival.” “Why is it [that] as soon as we see someone with “high-collar’ [an older Meiji term used to refer to someone enamored of Western] tastes who keeps up with trendy fashions,” he countered, “we pin the pejorative label modern girl on her?” Chiba concurred: “If the modern girl seems to be someone preoccupied

with clothes and having fun, it is only natural in a bourgeois society that has developed to the extent that ours has.”6 Miyake agreed with Nii and Chiba in principle, but added that only fifteen- to eighteen-year-olds qualified for the epithet “modern girl.” The young held no preconceived images of good or bad, right and wrong. Oblivious to what people around them said, they followed their hearts and not the dictates of society. Miyake felt that even if women in their twenties had the “outward” makings of the modern girl, “inwardly” they were bound by conventional images.”” She envied the self-assurance of teenage girls, something she said was unknown, even among women like Yamakawa, in her own generation. Miyake’s statement recalls a comment by Yamakawa, with whom she had participated in a panel discussion shortly after the earthquake. When Yamakawa was questioned about Western clothing, she replied: “From the standpoint of convenience, personally, I think it [Western dress] is great. But since we, my cohorts and I, come in contact with many old-guard types, if we are labeled new women, we are in trouble.”

Miyake and Moriya Azuma, another woman writer on that panel, chided Yamakawa for her contradictory statement, berating one of the most prominent so-called progressives of the day for her unbefitting lack of resolve.” While most female intellectuals focused on inner changes that affected the psyche, the image they fostered of the modern girl focused on more cosmetic changes. Their disdain for the modern girl stemmed

60 The New Japanese Woman |

both from what they labeled a lack of common commitment and from

the opinion, shared by their male counterparts, that media-inspired changes were superficial. The consensus depicted consumerism as the manipulator rather than, in Mary Ellen Brown’s terms, “as political insofar as women nominate, value, and regulate their own pleasure.” Since both conservative and more progressive intellectuals imagined the modern girl as an extension of the new woman, they expected her to give voice to women’s emerging consciousness and to actively vent

her social dissatisfaction. , ,

Only a few intellectuals like Chiba, Nii, and especially Hirabayashi visualized a positive connection between the modern girl and consumerism. In the aftermath of the earthquake, Hirabayashi moved away from his fellow Marxists. He linked the image of the modern girl to industrial advancement and a modern way of getting things done that would help define a new vision of progress. Unlike most intellectuals, who were impeded by an inability to separate facts from values in dealing with this modern construct, Hirabayashi, and to a lesser extent Chiba and Nii, envisioned an assertive, individualistic woman of the future —a product of consumerism who demonstrated a previously unknown degree of agency. This was in marked contrast to the image of the insipid, superficial young vamp who epitomized the most deleterious aspects of bourgeois society.

Expectations and Extravagances: The Modern Girl and Promiscuity

The thrilling romantic episodes that became synonymous with the image of the modern girl positioned her as a sex object similar to the professional working woman.” Oya, who had referred to the changing social trends as “nothing more than consumer-oriented hedonism,” singled out actress Oi Sachiko as a typical modern girl because of her outlandish escapades: “Jealousy just does not exist in their marriage — not in the slightest. It goes without saying that Sachiko and her husband both come and go as they please. If either of them wants to stay out overnight, they do so without compunction. She invited one of her friends—a man, of course—to her home, and the three of them, her husband included, slept together and had a good time. I don’t know how

The Modern Girl 61 ,

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et I—MF ge cae OP &§ foe endl? mer a eee ky: ROMS! ad a ge fe ££ gf > O FS 5 : ye £Lovao § 2. ee poe

. | eh : le Dance-hall dancers waiting for customers, circa 1929. Reprinted with permission of Mainichi shinbun.

she keeps her relationships straight and distinguishes between her hus-

band, her lovers, and her friends.” Writers wasted no time in seizing on the negative publicity to sensationalize the sexual depravity of the modern girl. Loose morals like Oi’s signified a lack of morality in all moga. The purportedly harmful influence of love scenes commonplace in American movies was enlisted into a narrative proclaiming that all modern girls enjoyed sexual freedom: A series of reports published in the Tokyo Nichi Nichi shinbun (Tokyo Daily Newspaper) in May 1927 claimed that promiscuous behavior had prompted the police to investigate modern girls and foreigners who lived in the Tokyo-Yokohama area, the assumption being that foreigners could easily seduce modern girls. The police concentrated their efforts on cafés, dance halls, geisha houses, cinemas, theaters, hotels, and the Ginza, all highly probable places for such liaisons to occur. When an English male and a twenty-three-year-old “beauty with a short haircut, Western clothing, and the voluptuousness much favored by foreigners” were taken into custody, the newspaper used boldface letters to report: “Modern on the outside—empty on the inside— prone to reading trashy magazines.” Later testimony by the for-

62 The New Japanese Woman

Wa | a ee a. oo pe or eeGe Ee i -—_— 8 2 Ee or Lf i oo

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Sapporo beer hall on the Ginza, circa 1929 (Gakushii Kenkyisha). , eigner’s maid revealed that at least two or three different young women

spent the night with the defendant each week. They appeared to be women whom he had charmed during job interviews at the fuel company where he worked. “Usually they wore Japanese kimono and did not have short cuts,” the maid reported.” Episodes sprinkled with unfounded gossip that played up sexual misconduct became an underlying theme of the modern girl discourse and enlivened the pages of books, newspapers, and magazines. The Western attire that was the identifying feature of the modern girl called into question her consumption habits and reflected the confusion surrounding the morality of class and dress. Indeed, the sense of unease that challenges to the accepted codes of behavior created demonstrated the difficulty of determining respectability by appearance alone. While

earlier sex scandals usually described the woman suffering because of her partner’s philandering, now the public was scandalized by the so-called subversion of female behavior. Sex became a powerful catalyst in increasing the momentum with which visual identities were formed and accentuated the public’s perception of the modern girl as a temptress. Author Kataoka Teppei assigned leading roles to the modern girl and

The Modern Girl 63

SLRS 2 /\ a , oe yr. ee mae “Lovestruck Customer ae 4 % hyo - Drinks Too Much Coffee i coe } ‘i | and Ogles the Cafe DET Cees NbN [ Hostess.” By Yoshioka

| em | [IS WW iN _ Torihei, in Tosei Hyaku : » . fice 2 r / Y, oN NS Baka, 1920. Reprinted with

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modern boy in two novels and a short story. For Kataoka, dress was the only criterion for a boy’s being modern. But Western clothing, no matter how fashionable, was not unusual enough to cause the same sensation when worn by a man that it did for the modern girl. The modern boy was clearly a media construct whose chief justification was to act as a balance for the modern girl.’ When the magazine Shinseinen (New Youth) came out in 1920, the editor boasted that it was designed for a new type of young man who possessed an “international outlook, but also was a loyal and patriotic citizen of Japan.” When writer Yokomizo Seishi assumed the editorship in 1927, however, the moga boom caused him to rethink the magazine’s direction. He claimed that “New Youth” should not be equated with the term “modern boy.”** The 1930 edition of the Sentango jiten (Dictionary of Ultramodern Words) defined the modern boy as a young man who is “flashy and follows the latest fads, sports a silk handkerchief in his breast pocket, wears bell-bottomed trousers, and is a kind of hooligan.” A similar definition appeared in the Modan ingo jiten (Dictionary of Modern Slang) published that same year: “A young man who combs his hair in the all-back (6ru bakku) style,

64 The New Japanese Woman

wears baggy bell-bottoms, follows the latest fads, and is prone to debauchery.” While fads in men’s clothing and hairstyles underwent several modifications between the 1860s and the 1920s, male debauchery was nothing new. The growing feminization of society coupled with the changeover from kimono to Western dress and the heightened sense of sexual freedom that described the modern girl, however, were new. Under these circumstances, it was only natural that the modern girl was received with raised eyebrows while the modern boy received only

snickers. |

A short story written by Kataoka features a young typist who is dating three young men, all modern boys, at the same time. Without compunction she agrees to go for a drive with one of her lovers ina taxi that will go anywhere in central Tokyo for one yen (entaku). Boyfriend A to the modern girl: My philosophy is this: Today is today. Tomorrow is tomorrow. I want to be totally swept away by what I am feeling the very instant that I am feeling it. Modern girl to Boyfriend A: I’m with you 100 percent. Boyfriend A to the modern girl: You mean you don’t need any guarantees for tomorrow either?

And so they arrive by taxi at an inn on the outskirts of the city. The last scene finds the modern girl engaged in a serious conversation with Boyfriend B. “Let’s get married,” she practically hollered into his ear. “Promise. We've really done everything married people do, you know.” In the same scene, Boyfriend C, who is not quite as “modern” as his rivals, stands slightly separated from Boyfriend B and the modern girl at the edge of a pond. Gazing out absentmindedly, Boyfriend C winces whenever the modern girl speaks. He turns on his heel ready to make his retreat, but her voice trails after him: “It took a long time to wear you down. We met almost two weeks ago.”®

Kataoka’s portrayal of the modern girl as an impulsive flapper is filled with tongue-in-cheek exaggeration. In fact, his story contains almost all the derogatory terms popular at the time to describe the modern girl: decadent, hedonistic, and superficial. Kataoka was not unique in taking the generally accepted definition of the modern girl and adapting his stories to fit that definition. Other writers portrayed the modern girl in similarly compromising sexual situations. All became part of the fictionalized moga image that the media passed on to the general pub-

The Modern Girl 65

Modern Girl”: |

lic. Kiyosawa Rei elaborated on this point in his article “Dissecting the

A girl from Niigata became so distraught because her friends spoke about her as “that modern girl” that she finally committed suicide. In her mind modern girl was another name for flapper. It is not only unsophisticated young girls from the country who think like this. Recently,

one of the newspapers came out with a special edition attacking the modern girl. Another newspaper printed in boldface letters, “Modern Girl Refused Employment at the Ministry of Railways.” After carefully

looking over the contents of that article, I realized that the reporter and a high-ranking official in the Ministry of Railways agreed that the modern girl was the type of person who met bad boys on the sly and did a lot of fooling around.*”

The eroticization of the modern girl in literature and the panic over the “decline” in feminine morality were evidence that some young people were exploring their sexuality. Although fiction such as Kataoka’s reinforced the negative image of the modern girl by sexualizing her, it also depicted a shift in attitudes toward fraternizing with the opposite sex and ultimately marriage. Few young women in the early years of the twentieth century thought of asking themselves how or with whom they were going to spend their lives. The reaction to the various “myths” that sprang up around the modern girl can be read in several ways. Certainly the intellectuals’ own biases influenced their response to her. Frightened, perhaps, by the implications of the changes symbolized by the modern girl and consum-

erism, most were unwilling to deal with their internal conflicts and unable to perceive reality. A second reading concerns the documentation of fiction by authors like Kataoka. Clearly, novels and short stories demonstrated the interaction of the author’s fantasies with questions of gender. Third, magazine editors performed a kind of balancing act

in constructing an acceptable relationship with their readers. Unlike novels or movies, in which young women often were the objects of the adult male’s gaze, in order for editors to successfully sell their wares, they had to satisfy young women’s tastes. Although the commercial motive was to create loyal subscribers, through a variety of clever strategies the magazines also helped create a vital:'sense of com-

munity among their readers. , 66 The New Japanese Woman

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Intellectual Takamure Itsue’s perception of the modern girl reveals her opposition to the “recent sexual depravity.” Takamure challenged journalist Hasegawa Nyozekan, who had cited economic instability as the reason for the growing popularity of late marriages among young people: The birthplace of modern hedonism is America, where all the wealth of the world is concentrated. The concentration of wealth is the motivat-

ing force behind amusements and entertainment. In Greece the luxurious lifestyle of the upper class and the wealthy townspeople who surrounded them produced the class of prostitutes known as hetaira. The same can be said of modanizumu in our modern cities, and sex for fun, which goes along with modanizumu. Without question the ruling class and the wealthy citizenry are responsible for creating this situation.°®

What Takamure referred to as “sex for fun” lent further credence to the discourses that appeared in books, newspapers, and magazines regarding the unrestrained behavior of the modern girl. The sensational reportage favored by the media made the modern girl appear to be an attention seeker. Nii settled on the term instinctive (muishikiteki) to de-

The Modern Girl 67

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7 EDa -ek wey etl | © oak scribe her behavior.’ Nii added, however, that the guiding force behind her actions was American culture.*° Compared with the new woman,

whose newness was linked to social demonstration and a conscious self-awakening, most intellectuals perceived nothing of import about the modern girl that she could claim as her own. Their elitism mirrored their hostility toward consumerism and their inability to see the mod-

ern girl in her role as a modern construct. ,

Materials from the period include little direct criticism of the modern girl written by conservative intellectuals. But that is not to imply that conservatives approved of the phantasm of the modern girl any more than the younger generation of intellectuals, most of whom had ties to Marxism. More likely, devoting their energies to combating their main adversary, socialist thought, took priority over any discussion of the modern girl and the more relaxed attitudes toward sex." In terms of censorship, the state exhibited a particular sensitivity to left-wing thought and erotica that seemed to incite a breakdown in sexual morals and traditional ethics.“ Cafés that offered “erotic service” were kept under strict police surveillance from as early as 1923, and the authori-

68 The New Japanese Woman ,

ties labeled café waitresses the modern counterparts of the geisha.® Ironically, the image of the modern girl, associated with amusement and decadence, never became offensive enough to make her/it an object requiring direct intervention like the prostitute. An exception has been noted, however: from 1927, the Ministry of Railways refused to hire modern girls — that is, young women singled out solely on the basis

of their dress, makeup, and bobbed hair. Fictionalized accounts like Murayama Tomoyoshi’s play The Spy and the Dancer (Supai to odoriko) might depict a dancer as a modern girl, but the state did not consider the two synonymous. In the state’s view, dancers were young women employed by dance halls for the purpose

of prostitution. Although by 1925 customers frequenting dance halls were required to write down their names and addresses before entering, and in 1928 those under eighteen years of age were prohibited, the Casino (kajino) Follies opened to much fanfare in 1929 in downtown Tokyo’s Asakusa. The government did not actually secure legislation that declared dance halls illegal until 1940. Thus, while the state clamped down on what was deemed sex as an industry, the modern girl, associated with private life, was not regarded as a similar threat that required regulation.

- Consumerism—Decadence or Hope? The movies offered testimony to the modern girl’s fascination with American popular customs. Tokyo Imperial University professor Sawamura Torajiro described the attraction as “a reflection of the [American] national character. It is probably America’s brightness and energy and the fact that it is not preoccupied with convention and tradition.”” Hirabayashi also recognized the cinema’s role in creating a place for the modern girl. The cinema, sports, and Marx: all three and each in a different way symbolize the trends prevalent in today’s world. Hollywood, in a sense, controls the world. Even Japan is under Hollywood’s yoke. ... Clara Bow, Rudolph Valentino, and Charlie Chaplin are the most popu-

lar names in the world today. It is rare for someone not to know the names of three or four movie stars, but it is not at all unusual not to know the name of the president of Germany, the prime minister of England, or one of the great French painters. Movies are more universal

The Modern Girl 69

than anything else is. Movies reach out to people all over the world directly and emotionally just by means of a simple screen. Hollywood has completely changed the Ginza. Without any doubt, the closest rela_ tive to the modern girl and modern boy is the cinema.”

Hirabayashi showed a keen interest in the trajectory of the social impact of movies: “No matter what out-of-the-way rural movie theater I happen upon, invariably there is at least one American movie playing. In the cities, the majority of the theaters show only Western films. .. . And most are American. In fact, many fans won’t even see a film unless

it was made in America. Action films and comedies, the mainstay of American movies, are rapidly changing the lifestyle of the Japanese.” ” Nii asserted that the arrival of American movies in Japan marked the moment of transition for the modern girl. He acknowledged the impact of the post-World War I influx of American books and magazines on the rhythms of Japanese life. But nothing, in his view, equaled the boost that came from American movies. Movies made visible the Americans’

free-and-easy approach to life: : Without knowledge of the cinema, we will never understand what moves the emotions of our young people and governs their lifestyle. ... During a lecture tour in the provinces, in one of my talks on Japanese literature, I referred to [Ozaki] Koyo and [Tokutomi] Roka to illustrate

a point, but I elicited only blank stares from the audience. As soon as I mentioned Clara Bow and Louise Brooks, faces lit up in understanding. ... In Japan, although department stores employ Japanese actresses [as models] to help popularize new fashions, they exert little appreciable influence on what trends will become popular. Hollywood fashion, on the other hand, reaches Tokyo in about one year. . . . It does not take much to imagine how Hollywood has become the Jerusalem

of the fashion world and the extent to which American movie stars hold the deciding vote when it comes to creating new trends.

The constant rise in the number of movie theaters during the period from 1912 to 1929 bears out Nii’s analysis (see table 1). In 1912, 44 movie

theaters operated in Tokyo and its vicinity; by 1929 the figure had risen to 207. Murobuse Takanobu estimated, perhaps too generously, that

more than one million people frequented the cinema on a monthly basis.” The debate over the immorality of movies crossed ideological lines. Ironically, the demands that society be safeguarded were in effect

70 The New Japanese Woman

TABLE 1 Movie Theaters and Viewers , in Tokyo and Vicinity, 1912-1929

Number of theaters Viewers |

1912 44. 12,772,247 1917 76 13,704,161 1922 112 17,397,817 1926 178 24,870,256 1929 207 36,917,425 — Source: Based on figures quoted by Gonda Yasunosuke, Minshii gorakuron

(1932), reprinted in Yoka/goraku kenkyii kis bunkenshi, vol. 10, ed. Ishikawa Hiroyoshi (Ozorosha, 1989), p. 208.

affirming the right of the state to pass censorship laws to protect the public from moral dangers. The interest exhibited by Hirabayashi, Nii, and Murobuse in the complex ways that American cinema was influencing Japanese society set them apart from most Japanese intellectuals, who associated movies with the morally unhealthy side of the modern girl and consumerism. The adverse effect of American movies on young women’s morals was also a much-debated topic in the United States in the 1920s. One seventeen-year-old, already addicted to the cinema, explained its appeal: “No wonder girls before the days of movies were so modest and bashful. They never saw Clara Bow and William Haines ... if we didn’t see such examples... where would we get the idea of being ‘hot’? We

wouldn't.” Murayama Tomoyoshi, an ardent supporter of the Japanese modernist art movement and a playwright linked closely to the proletarian theater movement during the 1920s, decried American movies for their “detrimental effect on one’s psyche. They try to get to a person at a weak moment.”*' Another woman writer, just as emphatic, remarked that “most of the so-called modern girl types are shallow ‘bean brains’ infatu-

ated with American motion pictures.”** Such reactions to the emerging urban culture reflect a commonality in the leftist intellectuals’ discourse. When Yamakawa defined the modern girl, she chose the term bourgeois. Her choice of words articulates the ideological importance of the class struggle in her thought: “The modern boy and modern girl

The Modern Girl 71

who are so in vogue today are not necessarily members of the bourgeoisie. Yet, even without the mention of class, their ideals and tastes fit in splendidly with those of the bourgeoisie. For that reason, I feel perfectly justified in calling them the heirs and heiresses of the bour-

geois class.”°°

Economist Gonda Yasunosuke, noted for his surveys pertaining to leisure and entertainment, was commissioned by Kaizo, a journal for leftist intellectuals, to evaluate the pervasiveness of modern life. His essay, titled “Modern Life and Perverted Tastes” (Modan seikatsu to hentai shikosei), bespeaks his condemnation of the new trends: If I were to define the essence of modern life, I would say that people without ties to labor and production are responsible for creating this society. In terms of class, they are members of the leisure class, or at least those connected to the petty bourgeoisie. Having no direct connection to labor, their lives are rooted solely in consumerism. In terms of age, they are young men and women for whom the name modern boy and modern girl is appropriate.*

Leftists asserted that girls from ordinary families and those forced to work for a living were not even distantly related to the modern girl. The vehemence with which these critics of consumer culture spoke about the danger to civic morality verged on hysteria. In their eyes, American capitalism promoted the degenerate urban lifestyle of which the modern girl was a direct figure. Indeed, most intellectuals —left and right — envisioned the modern girl as a by-product of the leisure class. By the late 19208, the neologism erotic, grotesque nonsense (ero guro nansensu), which consisted of equal parts decadence and depravity, best symbol-

ized this “hedonistic” culture.» ,

Murayama lashed out against the modern girl and all forms of “cultural hedonism.” From the standpoint of a leftist intellectual, any kind of commercialized recreation smacked of dissipation. This included “drinking, sex, going to shows—be it movies, plays, or sporting events —looking at [popular] magazines, eating fancy foods, reading foolish books, and thriving on the warmth of family.” Murayama saw “no real value or beauty” in love based on romantic sexuality.”° Kurahara Korehito also did not limit his criticism of the modern girl to her heavy makeup and flamboyant dress. The new social and artis-

72 The New Japanese Woman

tic trends in which the modern girl figured, and which he referred to as an appendage of the growing urban culture, entered prominently in his appraisal. The modern girl’s trademark Western dress had to go; but more important in his view was the elimination of sensational journalism available in mass women’s magazines. Put in a broader context, Kurahara’s dismissal of the modern girl reflected his own pessimistic view of consumerism, a worthy cause for hysteria. Particularly distasteful to Kurahara was the fact that the new consumer culture represented a capitalist endeavor. He envisioned the media as an unfair benefactor of large-scale capital and technology. Furthermore, it exerted a one-sided controlling influence on people’s lives. Like Murayama, Kurahara’s disdain for leisure-related activities directed toward satisfying individual pleasures mirrored his own stoicism. The modern girl, the symbol of consumerism, epitomized women’s susceptibility to their personal whims, with sexual misconduct only one of the consequences. This rationale accounted for the label “hedonistic” being pinned on the modern girl, and for the use of the term cultural hedonism to describe the commodification of the everyday. To say that Kurahara was alone in comparing the modern girl toa

puppet tied to capitalists’ pursestrings would be misleading. His attitude, however, furthers the view that problems involving women were allotted little status in the discourses written by Japanese Marxists of the time. The destruction of the patriarchal family structure, which was tantamount to the abolition of the Meiji Civil Code, was not a major concern, regardless of the views espoused by Hirabayashi. Although few intellectuals looked favorably on the changes occur-

ring in an increasingly broader spectrum of urban women, Chiba Kameo, who coined the term new sensationalism (shinkankaku) following

World War I, was one who did. The attention he paid to the transformation in attitudes and values, in particular to those regarding gender, affirms Chiba’s concern for alternative social trends.’ Rather than isolating the modern girl as a social anomaly, as many critics did, Chiba imagined her entry into society and the possibilities that awaited her in the labor force. In other words, Chiba equated the modern girl with the professional working woman. By seeking employment and securing some degree of economic independence, women, including the modern girl, would gain the know-how to voice their wants and satisfy them. Moreover, they would learn to define themselves beyond their

The Modern Girl 73

relation to home and family: “They are so lighthearted. It is as if they are standing stark naked under an open sky calling out: ‘We refuse to give in any more, not to you men, or to anyone!’ How shall I describe it. Women in the past did not share this kind of carefree attitude. This is a new quality that only belongs to girls today. We see it in many varied forms. Not bound by rules, they think for themselves and are their own masters. According to my definition, they constitute the modern girl.” Using England as an example, Chiba emphasized the impact that working outside the home for a salary would have on the modern girl: “The number of young women [in England] who have found paying jobs has suddenly reached seven million. I hear that with the money they are earning they go out freely and enjoy plays and other forms of entertainment.”*’ By connecting the modern girl to the increase in the number of professional working women, Chiba’s analysis added a different dimension to the argument. True, conditions in Japan and England differed. But the sense of independence and the willingness to challenge accepted codes of behavior that drew Chiba to the modern girl in Japan were also behind his attraction to the English working woman. Chiba realized that any change in the level of consumption had their roots within the context of social, economic, and cultural determinants. Chiba’s ideal modern girl portended the changes he detected taking place in all women, traits he did not wish to exceptionalize. Nowhere in his argument, however, did he touch on the relationship of the moga to the commodification of the everyday. As one of the most respected literary critics of his day, Chiba attempted to evaluate the modern girl in terms of a cultural transition. Only Hirabayashi connected the modern gir! to the realities of consumerism.” The modern girl represented a sign of social upheaval that was bound to result from Japan’s continuing industrialization. Modernists who saw only the surface changes reflected in the modern girl’s appearance he accused of sentimentality: “Japan’s modernists are still as sentimental as the lyric poets during the Middle Ages were. The modernity that is reflected in their eyes is all in hairdressing, skirts, cinema actresses, the department store mannequin girls and modern girls who stroll on the Ginza and frequent the [famous] movie theater Hoga-za. It is nothing more than flapper modernism. The basis for modernity is modern industry, financial capital, large-scale factories, and the stock exchange. Japan’s modernists shiver like the leaves on a tree before

74 The New Japanese Woman

these things.”°' Hirabayashi denounced many ideas and attitudes associated with the modern girl and urban culture. But he attributed the problems to the industrialization process, which would eventually lead Japan to a brighter future. Consumerism, in his view, was more than a label attached to a highly visible but ephemeral phenomenon: “Land is tucked away somewhere in a rural area. The factory is off in the suburbs. But on the Ginza we see ultramodern consumerism. The flapper girl and the chic boy are products of modernity, but to grasp only that one aspect of modernism is to grasp modernism in its most superficial form. The flapper girls and the chic boys can be related to our political and economic system, and it is that framework which is the core of modernism.” Because he looked at consumerism as a total way of life, Hirabayashi’s analysis of the modern girl was more comprehensive than the critiques that centered on her more superficial features. Her debut offered Hirabayashi proof of the machine’s effect on the everyday practices and attitudes of the housewife and the professional working woman. He argued that the faster pace of life generated by the machine worked psychologically to diminish the respect that urban women, in particular, demonstrated for elders and authority figures: All you have to do is pick up a newspaper or magazine, or ask someone on the street for his or her opinion, or look at the people around you to realize that old people are being given less respect than in previous generations. If you mention this to young people, they generally give you a knowing look or a sardonic smile. This is the process by which young women are freeing themselves from the old authority figures. I think that we can find the social basis for the modern girl in this way

of thinking. 7

I see the birth of the modern girl as a special feature in the breakdown of an authoritarian period in which women have had to endure. As the old authority collapses, and from now on that process will probably get more and more intense, I think that the modern girl will become

more and more modern.

The repositioning of the modern girl in urban society provides a stepping-off point for examining, albeit through varying perspectives, the experiences of the self-motivated middle-class housewife and the professional working woman, two types of women to be reckoned with in the future.

The Modern Girl 75

Conclusion What role did the modern girl, a totally different type of new woman, play within the historical context of the 1920s? Multifaceted and amorphous, even her appellation was used loosely. Representing a relatively small segment of the female population, though she was multiplied in the media, she remained until the end a misunderstood, voiceless image. In their enthusiasm for the modern girl, intellectuals such as Kitazawa Shiichi and Ni Itaru formed constructs that overlapped with their own idealized conceptions of Western women. Marxist Kurahara Korehito and socialist Yamakawa Kikue, on the other hand, related her to the most decadent aspects of capitalism. For Oya Sdichi, a Marxist sympathizer in the prewar period, and anarchist Takamure Itsue, the moga became a wanton sex object. Chiba Kameo, well known for his liberal opinions, observed a connection between the modern girl and the professional working woman and anticipated her incorporation into the labor force. Hirabayashi Hatsunosuke, a supporter of the Marxist theory of social change, attached meaning to societal transitions that resulted from Japan’s continuing industrialization—namely, the commodification of the everyday —which for him explained the advent of the modern girl. Despite the divergence of interpretations, it is significant that within the historical context of the 1920s the moga sensation was debated in the media by a wide range of Japanese intellectuals who engaged in serious discourses on alternative conceptions of gender relations. The alacrity with which intellectuals focused on the image of the modern girl demonstrated a certain willingness to accept a redefinition of women’s behavioral patterns. Yet their inability to shape the direction of the emerging urban culture caused dismay, skepticism, fear, and disappointment over the ambivalent figure of the modern girl. The turning point that made it possible for society to bypass the intellectuals came in the 1920s with the rapid development of the media, a much more effective conduit for the transmission of new customs than the intellectuals could

ever be. , The media projected hope for urban middle-class women to participate actively in the creation of this burgeoning culture, without an intermediary. By going to the movies, for example, women could visually absorb, firsthand, everyday practices different from their own.

76 The New Japanese Woman

Although the modern girl, the professional working woman, and the self-motivated middle-class housewife offered possibilities for a refashioning of culture, most intellectuals failed to recognize the special relationship between these women and consumerism. In areas such as gender relationships, family work patterns, and lifestyles the surprisingly influential media began to subvert old ideas. Socially and psychologically, the fight for changes that would alter women’s lives in the wake of the post-World War II reforms was already under way.” Because the private space of urban middle-class women in the 1920s was defined by a range of social conventions that covered everything from deportment to hairstyles, the image of the modern girl and her daring bob stood out as a graphic illustration of the rise of consumerism.

The Modern Girl 77

Housewives as Reading Women

What have we women to do with elaborate discourses on the

legend of a piece of rusty metal; or the qualities of an unknown animal; the pretended speeches of astammering senator; or the description of things invisible? —Lady’s Magazine,

February 1772! The appearance of the modern girl, the self-motivated middle-class housewife, and the professional working woman occurred in conjunction with the explosive expansion of women’s magazines in the 1920s.

The varied and sometimes competing representations that filled the pages of mass women’s magazines served as models for all women and played a role in the construction of a new concept of gender. At a time when literacy rates were rising, editors and publishers took advantage of the expanding reading public, of whom women constituted a major share, and targeted them as consumers. The housewife was no exception. One of the earliest modern references to the housewife, or shufu, can be found in the 1876 Japanese adaptation of Isabella Beeton’s 1861 Book of Household Management (Kanai kokoro e egusa). But that book was writ-

ten as a guide for well-to-do, upper-class English women, whose “duties” comprised the supervision of servants and other domestic tasks.’

By the 1890s, publications in Japan, put out primarily for women’s higher-school graduates, associated well-bred married women (fujin), whose family pedigrees determined their destinies, with the housewife. “Skillful” (kashikoi) housewives borrowed on their cultural resources to plan frugal menus, deftly train even one domestic, and assist in their children’s education.’ Since many of the older elite families had fallen on hard times by the mid-nineteenth century, abstract qualities like devotion, dignity, and spiritual strength were praised in

upper-class women who managed a household on a shoestring budget. In the early twentieth century, women’s magazines like Fujin to Kodomo (Ladies and Children, 1900) and Katei (Home, 1900), both of which focused their energies on women’s higher-school graduates, assumed similar lifestyles for privileged young ladies (fujin).* When the Meiji-period woman educator Shimoda Utako offered advice to housewives, she made no mention of the transformation of marriage practices as a way to achieve liberation. The voices of women anx-

ious to assert some autonomy over their daily lives were nowhere to be heard. For these ladies, “public” responsibility emerged with the attempt to “feminize” the private sphere but not to change the idea of femininity. In the well-bred upper-class family, just as in society, the husband was clearly the dominant figure. Mass women’s magazines produced a new culture, a “mass” culture that challenged the intellectuals’ notion of “pure, high” culture—a category intellectuals themselves had long monopolized. The new culture was a culture of the everyday, and it was labeled a women’s culture. By the mid-1920s the elements of a “mass” society, including the expansion of industrial capitalism and the media, had developed sufficiently to alter the shape of society.” The new mass culture revolutionized women’s status, and in the process destroyed the traditional family, the operational site of the Meiji Civil Code and its ideological apparatus, the “good wife and wise mother” ideology. All three of our urban figures of women were a conspicuous testament to the dislocation brought by that experience. The housewife in the 1920s, whose subjectivity was identified with consumer potential, was remote from her

late-nineteenth- and early-twentieth-century namesake. Magazines were not the only media expanding in the 1920s; the era is also known for newspapers, radio, and movies. The first permanent standing movie theater, or jOsetsukan, opened in Tokyo’s bustling Asa-

Housewives as Reading Women 79

kusa district in 1903, and from the very beginning the crowds clamored for more. In 1922 every prefecture boasted at least one cinema, and the number of Japanese films produced in 1924 and 1925 exceeded the number of foreign films shown in Japan in the same year.

The crackling sound of radio static first startled audiences on March 22, 1925. The words “JOAK is now on the air” soon became a stock phrase among Tokyoites. Within six months the Yomiuri newspaper was

running a daily radio page. The record business was also booming. As early as 1915 the recording by the actress Matsui Sumako of “Katusha’s Song” (Kachisha no uta), based on Tolstoy’s novel Resurrection, sold more than 20,000 copies. Thirteen years later, in 1928, Sato Chiyako’s recording of “Tokyo Marching Song” broke all records when it topped the 300,000 sales mark. Newspapers, already under pressure to offer local editions in order to remain competitive, spanned the country in their circulation. Both the [Osaka] Asahi and the [Osaka] Mainichi had amassed circulation figures exceeding one million by January 1924.

Magazines put out to meet the needs of a rapidly diversifying readership were the mainstays of publishing. Kingu (King, 1925) became the first mass magazine to achieve a following among men and women in city and country. The brainchild of Kodansha publishing magnate Noma Seiji, it achieved its circulation goal of one million within one year of its founding. The publication of Fujin sekai (Woman’s World, 1906), later followed by Fujokai (Woman’s Sphere, 1910), Fujin koron (Woman’s Review, 1916), Shufu no tomo (Housewife’s Companion, 1917), and Fujin kurabu (Woman’s Club, 1920), brought to the fore the so-called Big Four women’s magazines.’ A novel media product to

which large numbers of women had recourse had been born. Because

the predominantly male editors and many of the regular contributors promoted a rhetoric that reflected the objectives of the Meiji Civil Code, the new magazines at first appeared to sanction the precepts set by the state for women in the late 1890s. As editors put efforts into increasing circulation, however, the tone and contents of magazines shifted, and certain ironies, complexities, and contradictions came to

the fore. 7 The admixture of articles published in the mass women’s magazines

indicates that a dual standard governed editorial policies. It was not simply a question of the new opposing the old, but rather a fusion of old with new. The foundation for the extraordinary growth of women’s

80 The New Japanese Woman

magazines in the early twentieth century was nothing less than the expanded education given to upper-class women in the Meiji period.’

From this foundation the mass women’s magazines led the way in the production of the new media culture that went beyond existing women’s magazines and the place they had long held for a small group of upper-class women. The shift made by women’s magazines to encompass middle-class, and to a lesser extent lower-middle-class, women’s needs introduced tensions and contradictions: to what extent were the new opportunities and images of women going to either subvert or lend their support to official ideology?’ Although mass women’s magazines inherited their form and general outline from their predecessors, the continuities and discontinuities that describe the transformation in attitudes and values taking place were hardly static. Firmly embedded in the new mass culture, mass women’s magazines were not simply a counterpart to magazines that addressed men. Moreover, to label them mere repositories

of established routines and gender conventions downplays the complexities, both ideological and economic, marking their production. In a culture of consumption, mass women’s magazines naturally included their own categories of articles. This was evidence that editors and publishers recognized some obligation to women as consumers both in the sense of spenders and in the sense of readers. Just as magazines were in the process of redefining their readers, women were in the process

of redefining themselves. , |

Mass women’s magazines catered to a hitherto untapped reading public. Young women who were not in the habit of reading magazines became regular subscribers. Middle-class women provided the model that was to articulate the intimate relationship between mass magazines and women. Through these magazines housewives in rural hamlets had access to information about “modern” lifestyles utterly different from their own lives, a factor that contributed to the diffusion of new female images. Sophisticated family articles (katei kiji) and trendy articles (ryiik6o kyi) allowed urban women, and in a more limited sense some rural women, to become privy to new practices both inside and outside the home. Confessional articles (kokuhaku kiji) focused on alternative views of relationships that detailed the lives and love affairs of other women and, even if somewhat obliquely, women’s sexuality. Also conspicuous among the features were articles that emphasized a popu-

Housewives as Reading Women 81

larized form of self-cultivation, or shiiyo, which became an important dimension of women’s private and public spaces. Inasmuch as women within a specific social class are not homogeneous, the editors and publishers could not impose their standards on all women. Nor could they deal with the wants and desires of all their readers. Most women were still unaware of the opportunities becoming available that might effect changes in their status within the patriarchal family structure. Removed from the center of political power, their energies were not directed toward challenging the legal constraints that bound them. Mass women’s magazines, intent on accommodating a reading public of women who were products of the expanding educational system, sent out determined signals to readers. In the pages of these magazines, efforts were being made to transcend the barriers of status and give young unmarried women, housewives, and professional working women a shared consciousness, a public forum, and an

identity that was not limited by class. , The magazines were empowered by the public’s equation of “mass” culture with women. With mass magazines as commodities and women as consumers, the magazines assumed their own special place in publishing? The leading role of women’s magazines in the massification of publishing partly accounts for the encoding of “mass” culture as feminine. The proliferation of confessional articles, for example, which took the form of letters from readers, drew upon women readers as unpaid sources of revenue. At the same time, these readers’ letters created an atmosphere of intimacy among women that encouraged and inspired their active participation. In these articles women assumed a place in which they could give voice to the problematic relationship between their dreams and the realities of their roles. If most confessional articles addressed the mundane, this was, in fact, what formed the core of women’s everyday space. The struggles evident in these articles suggest that self-fulfillment had become an ideal for women but was still

very hard to attain. | By the 1920s, mass women’s magazines were an influential site in the circulation of information. Almost no one credited them, however, with playing a positive role in illuminating those changes in outlook which, figuratively if not literally, had thrust the average woman into the wider society. Women’s magazines formed a large portion of the mass maga-

zines of the period, but from the outset they received harsh criticism.

82 The New Japanese Woman

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